It also depends on what type of boundary-pushing you mean. Technically? Story?
Both. I wanted to create a 360° conversation on how cinematic language is pushed, in both small and big ways, both technically and creatively.
I'll throw in my two cents.
I was inspired to open the topic based on my recent watch of the Wachowskis' and Tom Twyker's "Cloud Atlas." The Wachowskis are known for pushing the language of cinematic language, and have famously done so with "The Matrix," but also with "Speed Racer." With "Cloud Atlas" they did it again, as I had never seen such a movie made up of so many different stories, spanning over different centuries, coming together in such a beautiful and organic way. And covering different genres and tones, as well.
George Miller made his comeback with "Mad Max: Fury Road" and a style I hadn't quite seen before or ever since. The movie doesn't bring a big innovation to the movie landscape, but there are many little details pushing the norm, such as the manipulation of the frame rate, the way the night scenes were shot and processed, and how practical stunts and effects and CGI were meshed and used together to bring out the most of the action scenes.
As far as up and coming directors, John Krasinski built an entire sci-fi horror narrative on silence and sound design. And what could have been a gimmick results in a satisifying and tense tale of survival and love. In theaters, the audience itself was afraid to make noises. People were eating their popcorn as silently as possible. The effect the movie had on the theater was incredible.
Leigh Wannell's "Upgrade" was also interesting in how it handled the fight scenes. The team hid a phone under Logan Marshall-Green's clothes, which was synced with the cameras, following his movements.
